The LEGO Batman Movie Sound Asbjoern Andersen


The LEGO Batman Movie was a huge hit when it premiered across the world this February (it has grossed nearly $250 million worldwide to date) – and in this exclusive A Sound Effect interview, award-winning supervising sound editor and sound designer Wayne Pashley takes you behind the scenes on the sound.

Below, he shares details about how he and his team brought the animated Batman, Batman’s frenemies, and Batman’s wonderful toys to life through sound – and how that signature ‘LEGO quick brick build’ sound was created:


Interview by Jennifer Walden, images courtesy of Warner Bros. Pictures and Big Bang Sound Design





The LEGO Batman Movie - Comic-Con Trailer [HD]


The Comic-Con trailer for the LEGO Batman Movie


 
Pop culture history (and DC Comics to some degree) has given us a number of Batmans to savor. Depending on your personal taste, you might agree that those early TV series Batmans were a bit cheesy. Michael Keaton’s Batman portrayal was wonderfully salty. And that combining ‘Ben Affleck’ and ‘Batman’ was like combining oatmeal and hot sauce. But there’s one Batman against whom all future Batmans should be gauged. And that benchmark is LEGO Batman (voiced by Will Arnett). He that will only “work in black, and sometimes very very dark grey” deserves the moniker… nay, the title, of ‘Dark Knight.’

Award-winning supervising sound editor/sound designer Wayne Pashley, co-owner of Big Bang Sound Design in Sydney, Australia is one guiding force behind the sound of The LEGO Movie, and now The LEGO Batman Movie. Together with supervising dialogue editor Rick Lisle and supervising sound effects editor Fabian Sanjurjo, they built the sound of the LEGO universe brick by brick.

Here, Pashley shares details about how he and his team brought the animated Batman, Batman’s frenemies, and Batman’s wonderful toys to life through sound in The LEGO Batman Movie. Also, how they made that signature ‘LEGO quick brick build’ sound that can be heard across the spectrum of LEGO branded films, TV projects, and video games.


The LEGO Batman Sound Team

From left: Fabian Sanjurjo, Wayne Pashley and Rick Lisle from The LEGO Batman Movie sound team


 

How did you get involved with the film?

Wayne Pashley (WP): We were approached to work on The LEGO Batman Movie, because of our existing relationship with Warner Bros., having completed The LEGO Movie in 2014. We had worked with Chris McKay, Christopher Miller, Phil Lord and Dan Lin on that previous film, and this was a natural progression. We have also had a longstanding relationship with Animal Logic, the animation studio responsible for producing the amazing visuals.
 

Where did you do the sound editing on the film?

WP: Primarily the sound design was completed at Big Bang Sound Design’s studio in Sydney. I divided my time between Sydney and LA, as the mix was completed at Warner Bros Sound. During that period we also had additional sound editing happening on site at Warner Bros.
 



The LEGO Batman Movie – Extended TV Spot [HD]


The Extended TV Spot for The LEGO Batman Movie


 

Who were the members of your sound design team, and what sounds did they handle?

WP: The sound design team was made up of around 15 highly talented crew. Apart from myself as supervising sound editor/designer, I had a fantastic dialogue team headed up by supervising dialogue editor Rick Lisle, and an incredible effects team under supervising sound effects editor Fabian Sanjurjo.

I find that the best way to handle complex films like this is to assign each editor a character, or set of characters, and have them responsible for all the sounds associated with that character

I find that the best way to handle complex films like this is to assign each editor a character, or set of characters, and have them responsible for all the sounds associated with that character. For example, Fabian was responsible for all sounds associated with Batman himself – so anything that Batman did or used as a prop, fell to Fabian to create the sound for. If Batman throws a bomb, Fabian is responsible for the sound of the ensuing destruction.

We had the incredible talent of John Simpson creating the Foley, and the Oscar winning mixers at Warner Bros. Sound, Michael Semanick, Gregg Landaker, as well as Tim Le Blanc and myself pulling it all together on the sound stage.
 
[tweet_box]How sound brought the bricks to life in The LEGO Batman Movie[/tweet_box]

What were director Chris McKay’s initial concerns for sound?

WP: I wouldn’t really call them concerns, but Chris’s main objective was to differentiate between this film and The LEGO Movie.
 



The LEGO® Movie - Official Main Trailer [HD]


The trailer for the 2014 The LEGO Movie, which Wayne Pashley was also Supervising Sound Editor on


 

McKay was an editor on The LEGO Movie in 2014. Did he want to stay true to any style choices established on that film, or did he want The LEGO Batman Movie to sound different?

WP: As far as sound was concerned, Chris was determined to stay true to the realistic intent of the film. Rather than keeping the sound in the full plastic concept of LEGO, he wanted to go down the road of emulating more recent Batman movies in the style of, for example, The Dark Knight films. He wanted it to sound like an action adventure film, but incorporating LEGO characters into that real world style.

He wanted it to sound like an action adventure film, but incorporating LEGO characters into that real world style

Everything, down to the footsteps, were actual real world sounds. He was determined to move away from the concepts of The LEGO Movie, and to make this a standalone film. There were some notable exceptions, such as the vocal “pew, pew” sounds of the guns, but even these were backed up with real gun effects underneath. It’s a fine line, when you are playing for comedy.
 

There’s that great ‘quick brick build’ sound for when characters build things, which has also been used in The LEGO Movie, and LEGO games like LEGO Jurassic World, and for TV projects too, like LEGO Star Wars: The Padawan Menace. How did you guys make that sound?

WP: That sound was made by recording real LEGO Duplo bricks, plastic buckets, Tupperware, etc. — all different weights of plastic. We would then cut the Master Builder effects together as a very fast, tight sequence which we then ran through Soundtoys Tremolator plug-in, to make them even faster, and give the sound movement.

It was a device we first used on The Padawan Menace, and has since become a signature sound for the LEGO brand.


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The sound you hear in films isn’t necessarily created from its real world counterpart. But, you recorded actual LEGOs for these films? How did you use those recordings to make the sound of the LEGO universe on-screen?

WP: When we were doing the track for The LEGO Movie, we really did spend a lot of time recording LEGO, Duplo and other plastic sounds of varying weights. It’s interesting as you are trying to create the authenticity and very specific sound of the LEGO plastic, but of course on a whole different scale, as you are in the LEGO world, and at mini figure size.

If you’re seeing the building of the Batwing for example, you’re hearing real metal plate clanging on metal, but backed up with LEGO sound

On The LEGO Batman Movie, because of Chris’s concept for actuality, we had more scope to use real sound effects. He wanted the characters to be based in reality. In scenes like the Master Builder sequences, we would use a heap of LEGO sounds combined with real sounds. If you’re seeing the building of the Batwing for example, you’re hearing real metal plate clanging on metal, but backed up with LEGO sound. Or, an explosion would be a real explosion, with real and LEGO debris.
The batwing sound

Batman is known for his ‘wonderful toys.’ What were some of your favorite Batman-related sounds for this film and how were they designed?

WP: I would have to say my favorite toy is the Batwing itself. Its signature sound was built from a variety of jet engines, mixed with high speed Formula 1 cars. The interior was also a lot of fun as it was a super high tech environment, and we got to play with a lot of electronic and cockpit sounds.

We also had loads of fun being inside Batman’s cowl, getting to work with the real Siri voice, and how she sounds in his ears.
 

How about villain sounds? There were so many villains! Any villain sounds you’re particularly excited about?

WP: My favorite villain would have to have been Clayface. Who doesn’t like an excuse to play in a mud and clay pit in the name of sound recording!!?

Who doesn’t like an excuse to play in a mud and clay pit in the name of sound recording

We also had a lot of fun recording the sounds for Condiment King – yes, they were all recorded by a bunch of sound effects editors making fart noises with their mouths. Moments like that are secretly why we all got into the business!
 

What audio tools were most helpful when designing sound for LEGO Batman? Can you share specific examples of how you used them?

WP: The sound for the film was created using Avid Pro Tools. Some of the main audio tools we used were Sound Shifter, to get speed for the Bat Mobile, and also Soundtoys, particularly Crystallizer and Tremolator.

Sound Designer Wayne Pashley

Any fun field recordings for The LEGO Batman Movie?

WP: Virtually all the recording of props and LEGO bricks was done in a closed studio environment. They were recorded to Pro Tools using a combination of Neumann KMR81’s, Neumann U87’s, and a variety of contact mics.

Other real world sounds, like vehicles and aircraft, come from our own vast library, which has built up over many years and many films. We manipulated those sounds to suit this film, creating new effects.
 

Did you have a favorite scene to design? Why? How did you create it?

WP: My favorite scene to design was probably the first time you see the Bat Mobile transform into the Bat Wing. It was so important as it was a proof of concept for Chris.

Once we had captured that, we knew we were headed in the right direction for the rest of the film

He could hear that the sounds he had been wanting, as far as having Batman’s arsenal of toys anchored in the real world, were working. Once we had captured that, we knew we were headed in the right direction for the rest of the film.
 

What did the Foley team cover, and what props did they use to create Foley that fit in the LEGO universe?

WP: The Foley on The LEGO Batman Movie was treated pretty much as if all the characters were real people, so a normal foot pass was done, as well as props and cloth. The tricky part was getting the animated figure movement to feel and sound like a normal foot fall. Most of the surfaces were regular concrete or linoleum, with the exception of the walkways and computer floor areas in the Bat Cave which John [Simpson] created from various metal surfaces.

The thing that was used most for any specific plastic effect was the big bucket that held all the LEGO bricks

Very little LEGO plastic was used in the Foley room. In fact the thing that was used most for any specific plastic effect was the big bucket that held all the LEGO bricks! For the Daleks’ movement (those alien-robots from Doctor Who), John used good, old fashioned heavy duty film can boxes. He added a lot of micro detail to the main costumes, such as the Joker’s little watch chain —though we never really see it move, it just adds to his character nicely. Of course Batman has the most kit, so we over play everything he does with it. After all, he is Batman!
 

A big thanks to Wayne Pashley and team for the story behind the sound for The LEGO Batman Movie – and to Jennifer Walden for the interview!

 

 

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    Construction Kit – 2443 Sounds

    A treasure trove of raw, organic, and processed sounds including seamless loops divided into Fire, Water, Air, Earth and Explosion categories. Customize every detail with an extensive selection of sound components.

    • Organic Fire: Campfire sizzles, torch whooshes, and flame bursts.
    • Processed Fire: Distorted impacts and unique crackles.
    • Organic Earth: Rock crashes, gravel scrapes, and heavy stone hits.
    • Processed Earth: Stylized rumbles and granular textures.
    • Organic Water: Ocean waves, hydrophone bubbles, and fluid splashes.
    • Processed Water: Underwater whooshes and stylized liquid smashes.
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    • Earth: Ground-shaking impacts, crumbling terrain, and heavy collisions.
    • Water: Cascading waves, serene rivers, and underwater ambiences.
    • Air: Whispering breezes, stormy turbulence, and slicing gusts.

    Design Kit – 192 Sounds

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    • Fire: Crackling flames, fiery bursts, and roaring infernos.
    • Earth: Crushing impacts, shifting ground, and massive land eruptions.
    • Water: Splashes, fluid manipulations, and crashing tidal waves.
    • Air: Slicing winds, swirling currents, and thunderous gusts.

     

    Four Elements gives you complete creative control, blending organic recordings with processed sound layers to meet the demands of any project. Master the forces of nature with Four Elements. Let your creativity ignite.

     

    Keywords:

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    Explore categories such as arcane magic, water magic, electric magic, zaps, whooshes, celestial magic, dark magic, summons, and much more. Each effect has been meticulously recorded,edited and distributed at 192 kHz and 24-bit, ensuring exceptional sound quality. Whether you’re a professional sound designer or just looking for magic effects to drag and drop into your projects, you’ll find what you need here.

    Our files have been named to reflect the essence of each magic, making it easy to intuitively find the perfect sounds for your creation.

    More about the pack
    – Intuitive file naming
    – All you’ll ever need regarding magical elemental sounds [Use them again & again
    Use the sound effects over and over, in any of your projects or productions, forever without any additional fees or royalties. Use the SFX in your game, in your trailer, in a Kickstarter campaign, wherever you need to, as much as you want to.
    – Totally mono compatibility
    – All sounds have several variations.
    – Use your imagination and feel free to use any sound for a creature other than the one described, remember that the world of sound is totally subjective.
    – For any questions or problems: khronstudio@gmail.com

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    Recorded in a spatially-open, exciting and realistic-sounding quad-surround NOS-based format*, these are ultra-low-noise recordings of cinematic quality. They are fully ‘rotatable’ for next-level sound editing options or alternative perspectives. Also available in stereo version.

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    • 20 wildlife-rich atmospheres
    • detailed Soundminer and BWAV metadata including species lists
    • available in quad (4.0) or stereo (2.0)
    • ultra low-noise
    • fully rotatable surround format for alternate perspectives (4.0 version only)

    Featured Habitats

    Lowland rural meadows, scrub edges and hedgerows.

    Wildlife Vocalisations

    Some of the many birds to be heard include turtle dove, golden oriole, blackcap, buzzard, jay and great-spotted woodpecker. The birds have a range which extends across southeastern Europe.

    CLICK FOR FULL FILE LIST

    Technical

    Sennheiser MKH8040 based 4.0 microphone setup recorded into Sonosax SX-R4+

    Recording Characteristics

    • Ultra-low-noise
    • Carefully mastered to remove any unwanted artefacts whilst preserving low-frequency energy
    • Spatially balanced to ensure a coherent and immersive image appropriate to the recording.
    • Continuous, unedited and uninterrupted, preserving the natural rhythms of the biophony.


    All sounds recorded by Nicholas Allan, a Jackson Hole and BAFTA-nominated sound designer who, along with his team, has created the natural soundtracks for countless natural history TV documentaries and feature films for National Geographic, BBC, Discovery, Animal Planet, Netflix and others.

    Special thanks to: Christoph Promberger, Andrew Wilson and Jolanta Brdej-Allan.

    CLICK FOR FULL FILE LIST

    * tracks 19 and 20 are recorded in double mid/side

  • Roomtones and ambiences recorded in ambisonic B-format (ambix) and binaural.
    Including some actions like elevator in use, door open-close etc.
    Recorded with Sennheiser Ambeo VR microphone and Sound Devices recorder. See the track list for additional info.

    B-format (RAW-4ch.) and Binaural files. Audio preview is in Binaural (best with headphones). Metadata tagged.

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